Rendered in oil pastel on raw canvas, his tableaus are inhabited by mythical beings whose melancholic, humanoid faces emerge from quadrupedal bodies. In new works, this enigmatic personal mythology is embedded in darkly cinematic visions stemming from a fascination with the intricate dioramas of New York's Natural History Museum, which Day-Lewis frequented as a child. The spectral figures appear enclosed behind glass in desolate, primordial terrains, fixed in the gaze of mesmerized visitors. To Day-Lewis, the sublime is defined by its unattainability.

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